facilitated the licensing of music to the benefits of right holders and commercial users alike. In the online realm, however, the rationale of the collective administration of copyright has been challenged and its functioning re-configured. At a moment in time where the Internet has made the cross-border distribution of recorded music easier than ever, right holders are yet to find licensing solutions appropriate for multi- territorial online uses. This, in turn, slows down the uptake of legal online music services and prevents the realisation of the Digital Single Market, pursued within the EU. The European Commission has intervened twice, first in 2005 in the form of a non-binding Recommendation, and later in 2008, when it held that the collecting societies' practice of restricting their activities to their respective domestic territory was anti-competitive. Arguably, the contradictory effects of EU action have exacerbated rather than remedied the existing difficulties that cross-border online music services face in clearing the necessary authors' rights. This thesis proposes to re-contextualise this problem around cultural diversity, which is a recurring buzzword in the ongoing debates and which EU institutions are legally obliged to promote and to respect. Despite this seeming acknowledgment of the concept, no sound legal analysis of its scope or its implications for the field of online music has yet been proposed. Pursuing such analysis, this thesis first examines the meaning of cultural diversity under EU law to submit an understanding of it as intercultural pluralism. It then assesses the boundaries of the EU obligation to promote cultural diversity in view of the goals of the UNESCO Convention on the Promotion and Protection of the Diversity of Cultural Expressions. An analysis of the relationship between the two sets of norms suggests interpreting the EU mandate of promoting cultural diversity in light of the scope of the international obligations wherever EU action affects cultural creations. Applied to the context of online music, this novel interpretation implies that cultural diversity is promoted if all groups within the EU (a) have the ability to express their cultural identity through online music; and (b) are in a position to access online music expressing different cultures from within and outside the EU. Cultural diversity thus calls for the licensing regime to be reorganised so that online music services may, in a simple and effective way, clear the rights necessary for the online use of the entire available EU repertoire as well as a diverse foreign and, ideally, the entire worldwide repertoire. Finally, this thesis assesses the current online licensing mechanisms in a practical application of these findings, testing the commonly raised argument that collective rights management promotes cultural diversity and investigating, in parallel, whether the practical consequences of the EU interventions have promoted the diversity of online music.

Online music has become an important commercial possibility in the music industry. However, according to the marketing research of Market Intelligence & Consulting Institute on 2009, there¡¦re only 17.6% of those web users willing to pay for online music. Hurley and Estelami (1998) mentioned that the service quality will affect the customer satisfaction. Superior service quality will have a positive effect on customer satisfaction, and proceed to affect the customer¡¦s repurchase intentions and behavior. In this research, we tried to find the relationship between service quality and customer satisfaction for online music. The main aspects of online service quality are informativeness, selection, portability, convenience, perceived enjoyment, and Idolization. In this research, we collected data of online music in Taiwan by conducting a survey on the Internet. It¡¦s found that selection, convenience, perceived enjoyment, and Idolization have a positive influence on customer satisfaction based on statistical analysis. Above all, the aspect of convenience is highly relative to customer satisfaction. As a result, the author suggests that online music should add more functions according to the four aspects mentioned above.

No description available.

Esta pesquisa aborda a pedagogia musical online de um curso de música a distância que utiliza como ambiente virtual de aprendizagem a plataforma moodle. A pesquisa tem como objetivo geral compreender como se constitui a pedagogia musical online que se configura no ambiente virtual de aprendizagem musical, tomando como locus o Curso de Licenciatura em Música da UAB-UnB, na modalidade a distância. A pedagogia musical online, neste estudo, inclui: as metodologias, os recursos e os materiais didáticos utilizados no moodle e o direcionamento desses aportes teórico-metodológicos no processo formativo do curso de música a distância, a partir da relação entre plataforma moodle, ferramentas, conteúdos e seus atores sociais. Participaram deste estudo vinte e três sujeitos inseridos na plataforma moodle do curso de música a distância, sendo dois coordenadores, uma gestora, uma professora autora/supervisora, seis tutores a distância e treze alunos virtuais. Como objetivos específicos, este estudo pretende contextualizar a escolha dos alunos pelo curso de música na modalidade a distância; investigar que mediações pedagógico-musicais são constituídas nesse ambiente virtual; verificar a organização das disciplinas observadas, identificar a interação que ocorre no interior dessas disciplinas, identificar como os sujeitos administram o tempo e o espaço no curso de música a distância e examinar a viabilidade do curso de música a distância. A fundamentação teórica está alicerçada no campo da sociologia da educação musical, sociologia da comunicação, sociologia da educação e da sociologia da educação a distância. A partir das ramificações desse campo sociológico, este estudo possui como base teórica autores que lapidaram um olhar sobre a vida cotidiana diante do contexto da cibercultura (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). A metodologia utilizada é Estudo de Caso com abordagem qualitativa (POUPART et al., 2008; DESLAURIERS e KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN e BIKLEN, 1994). As técnicas de coleta de dados utilizadas foram a observação não participante e participante, bem como a entrevista online, sendo essa uma adaptação da entrevista desenvolvida presencialmente (NICOLACI-DA-COSTA, 2007). Os resultados mostram que aprender música a distância é possível e que a procura por essa modalidade é crescente, tendo em vista a sua flexibilidade na organização do tempo e do espaço. A análise e a interpretação dos dados revelam que a pedagogia musical online tem que ser pensada a partir de suas demandas específicas em cada disciplina, vinculada à realidade de cada contexto inserido no processo de formação, além de ser adaptada e transformada para atender essas necessidades específicas. / This study discusses the online music pedagogy of a distance music course that uses Moodle, a software platform, as a virtual learning environment. It aims to understand how the online music pedagogy is created in the music virtual learning environment, assuming as a research locus, the Degree in Music at the UAB-UnB, as a distance learning mode. In this study, the online music pedagogy includes: Moodle methodologies, resources, and learning materials, and the application of such methodological-theoretical resources in the process of creating the music distance learning course from the relationship amongst its platform, tools, contents and social protagonists. Twenty three individuals , who were included in the moodle platform of the music distance learning course, participated in this study; two coordinators, one manager, one teacher author/supervisor, six distance learning tutors, and thirteen virtual students. The specific purposes of this study aim to contextualize the students’ choice for the music distance learning course; to investigate which musical-pedagogical mediations are created in this virtual environment; to analyze the discipline arrangement; to identify how these disciplines interact; to verify how the individuals manage time and space in this course; and to observe the music distance course viability. The theoretical foundation is based on the field of sociology of music education, sociology of communication, sociology of education and sociology of distance learning. From the branches of Sociology, the theoretical basis of this study is supported by authors who refined a look at everyday life with regard to the cyber culture context (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). This is a qualitative case study (POUPART et al., 2008; DESLAURIERS and KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN and BIKLEN, 1994). Data collection techniques used were non-participant and participant observations, as well as an online interview, which was an adaptation of a face-to-face interview (NICOLACI-DA-COSTA, 2007). The results showed that it is possible to learn music by taking online music courses. There is a growing demand for such alternative mode of learning as they provide greater flexibility in the organization of time and space. Data analysis and interpretation revealed that online music pedagogy should take into account its specific demands in each discipline, linked to the reality of each context inserted in the process of training, in addition to being adapted and transformed to meet these specific needs.

Este estudo teve como objetivo investigar a viabilidade da educação online como estratégia de formação continuada de professores de música em exercício na educação básica. O método de pesquisa utilizado foi a pesquisa-ação, que consistiu de um curso online sobre tecnologia na educação musical destinado a professores de música de escolas públicas situadas no Estado do Pará. Oito professores aceitaram participar da pesquisa. Foram utilizadas três técnicas de pesquisa: questionário auto-administrado, observação participante e entrevista semiestruturada. Os resultados da presente pesquisa indicam que as bases para criação de programas de formação continuada de professores de música em exercício na educação básica, por meio da educação online, estão na concepção metodológica que a orienta, na gestão eficiente do ambiente, na adequação do material didático disponibilizado ao conteúdo do curso e no apoio institucional. / This study aimed to investigate the viability of online education as a strategy for inservice music teacher education. The research method used was the actionresearch, which consisted of an online course on music technology for in-service music teachers of public schools situated in the State of Pará, Brazil. Eight teachers agreed to participate in this research. Three research techniques have been used: self-administered questionnaires, observation and semi-structured interviews. The results point out that the basis for the creation of in-service music teacher education programs, using online education, resides on the conception that orient the program, on efficient administration of the environment, on adequation of the teaching material available to the content of the course and on the institutional support.

Este estudo teve como objetivo investigar a viabilidade da educação online como estratégia de formação continuada de professores de música em exercício na educação básica. O método de pesquisa utilizado foi a pesquisa-ação, que consistiu de um curso online sobre tecnologia na educação musical destinado a professores de música de escolas públicas situadas no Estado do Pará. Oito professores aceitaram participar da pesquisa. Foram utilizadas três técnicas de pesquisa: questionário auto-administrado, observação participante e entrevista semiestruturada. Os resultados da presente pesquisa indicam que as bases para criação de programas de formação continuada de professores de música em exercício na educação básica, por meio da educação online, estão na concepção metodológica que a orienta, na gestão eficiente do ambiente, na adequação do material didático disponibilizado ao conteúdo do curso e no apoio institucional. / This study aimed to investigate the viability of online education as a strategy for inservice music teacher education. The research method used was the actionresearch, which consisted of an online course on music technology for in-service music teachers of public schools situated in the State of Pará, Brazil. Eight teachers agreed to participate in this research. Three research techniques have been used: self-administered questionnaires, observation and semi-structured interviews. The results point out that the basis for the creation of in-service music teacher education programs, using online education, resides on the conception that orient the program, on efficient administration of the environment, on adequation of the teaching material available to the content of the course and on the institutional support.

Esta pesquisa aborda a pedagogia musical online de um curso de música a distância que utiliza como ambiente virtual de aprendizagem a plataforma moodle. A pesquisa tem como objetivo geral compreender como se constitui a pedagogia musical online que se configura no ambiente virtual de aprendizagem musical, tomando como locus o Curso de Licenciatura em Música da UAB-UnB, na modalidade a distância. A pedagogia musical online, neste estudo, inclui: as metodologias, os recursos e os materiais didáticos utilizados no moodle e o direcionamento desses aportes teórico-metodológicos no processo formativo do curso de música a distância, a partir da relação entre plataforma moodle, ferramentas, conteúdos e seus atores sociais. Participaram deste estudo vinte e três sujeitos inseridos na plataforma moodle do curso de música a distância, sendo dois coordenadores, uma gestora, uma professora autora/supervisora, seis tutores a distância e treze alunos virtuais. Como objetivos específicos, este estudo pretende contextualizar a escolha dos alunos pelo curso de música na modalidade a distância; investigar que mediações pedagógico-musicais são constituídas nesse ambiente virtual; verificar a organização das disciplinas observadas, identificar a interação que ocorre no interior dessas disciplinas, identificar como os sujeitos administram o tempo e o espaço no curso de música a distância e examinar a viabilidade do curso de música a distância. A fundamentação teórica está alicerçada no campo da sociologia da educação musical, sociologia da comunicação, sociologia da educação e da sociologia da educação a distância. A partir das ramificações desse campo sociológico, este estudo possui como base teórica autores que lapidaram um olhar sobre a vida cotidiana diante do contexto da cibercultura (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). A metodologia utilizada é Estudo de Caso com abordagem qualitativa (POUPART et al., 2008; DESLAURIERS e KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN e BIKLEN, 1994). As técnicas de coleta de dados utilizadas foram a observação não participante e participante, bem como a entrevista online, sendo essa uma adaptação da entrevista desenvolvida presencialmente (NICOLACI-DA-COSTA, 2007). Os resultados mostram que aprender música a distância é possível e que a procura por essa modalidade é crescente, tendo em vista a sua flexibilidade na organização do tempo e do espaço. A análise e a interpretação dos dados revelam que a pedagogia musical online tem que ser pensada a partir de suas demandas específicas em cada disciplina, vinculada à realidade de cada contexto inserido no processo de formação, além de ser adaptada e transformada para atender essas necessidades específicas. / This study discusses the online music pedagogy of a distance music course that uses Moodle, a software platform, as a virtual learning environment. It aims to understand how the online music pedagogy is created in the music virtual learning environment, assuming as a research locus, the Degree in Music at the UAB-UnB, as a distance learning mode. In this study, the online music pedagogy includes: Moodle methodologies, resources, and learning materials, and the application of such methodological-theoretical resources in the process of creating the music distance learning course from the relationship amongst its platform, tools, contents and social protagonists. Twenty three individuals , who were included in the moodle platform of the music distance learning course, participated in this study; two coordinators, one manager, one teacher author/supervisor, six distance learning tutors, and thirteen virtual students. The specific purposes of this study aim to contextualize the students’ choice for the music distance learning course; to investigate which musical-pedagogical mediations are created in this virtual environment; to analyze the discipline arrangement; to identify how these disciplines interact; to verify how the individuals manage time and space in this course; and to observe the music distance course viability. The theoretical foundation is based on the field of sociology of music education, sociology of communication, sociology of education and sociology of distance learning. From the branches of Sociology, the theoretical basis of this study is supported by authors who refined a look at everyday life with regard to the cyber culture context (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). This is a qualitative case study (POUPART et al., 2008; DESLAURIERS and KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN and BIKLEN, 1994). Data collection techniques used were non-participant and participant observations, as well as an online interview, which was an adaptation of a face-to-face interview (NICOLACI-DA-COSTA, 2007). The results showed that it is possible to learn music by taking online music courses. There is a growing demand for such alternative mode of learning as they provide greater flexibility in the organization of time and space. Data analysis and interpretation revealed that online music pedagogy should take into account its specific demands in each discipline, linked to the reality of each context inserted in the process of training, in addition to being adapted and transformed to meet these specific needs.

Esta pesquisa aborda a pedagogia musical online de um curso de música a distância que utiliza como ambiente virtual de aprendizagem a plataforma moodle. A pesquisa tem como objetivo geral compreender como se constitui a pedagogia musical online que se configura no ambiente virtual de aprendizagem musical, tomando como locus o Curso de Licenciatura em Música da UAB-UnB, na modalidade a distância. A pedagogia musical online, neste estudo, inclui: as metodologias, os recursos e os materiais didáticos utilizados no moodle e o direcionamento desses aportes teórico-metodológicos no processo formativo do curso de música a distância, a partir da relação entre plataforma moodle, ferramentas, conteúdos e seus atores sociais. Participaram deste estudo vinte e três sujeitos inseridos na plataforma moodle do curso de música a distância, sendo dois coordenadores, uma gestora, uma professora autora/supervisora, seis tutores a distância e treze alunos virtuais. Como objetivos específicos, este estudo pretende contextualizar a escolha dos alunos pelo curso de música na modalidade a distância; investigar que mediações pedagógico-musicais são constituídas nesse ambiente virtual; verificar a organização das disciplinas observadas, identificar a interação que ocorre no interior dessas disciplinas, identificar como os sujeitos administram o tempo e o espaço no curso de música a distância e examinar a viabilidade do curso de música a distância. A fundamentação teórica está alicerçada no campo da sociologia da educação musical, sociologia da comunicação, sociologia da educação e da sociologia da educação a distância. A partir das ramificações desse campo sociológico, este estudo possui como base teórica autores que lapidaram um olhar sobre a vida cotidiana diante do contexto da cibercultura (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). A metodologia utilizada é Estudo de Caso com abordagem qualitativa (POUPART et al., 2008; DESLAURIERS e KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN e BIKLEN, 1994). As técnicas de coleta de dados utilizadas foram a observação não participante e participante, bem como a entrevista online, sendo essa uma adaptação da entrevista desenvolvida presencialmente (NICOLACI-DA-COSTA, 2007). Os resultados mostram que aprender música a distância é possível e que a procura por essa modalidade é crescente, tendo em vista a sua flexibilidade na organização do tempo e do espaço. A análise e a interpretação dos dados revelam que a pedagogia musical online tem que ser pensada a partir de suas demandas específicas em cada disciplina, vinculada à realidade de cada contexto inserido no processo de formação, além de ser adaptada e transformada para atender essas necessidades específicas. / This study discusses the online music pedagogy of a distance music course that uses Moodle, a software platform, as a virtual learning environment. It aims to understand how the online music pedagogy is created in the music virtual learning environment, assuming as a research locus, the Degree in Music at the UAB-UnB, as a distance learning mode. In this study, the online music pedagogy includes: Moodle methodologies, resources, and learning materials, and the application of such methodological-theoretical resources in the process of creating the music distance learning course from the relationship amongst its platform, tools, contents and social protagonists. Twenty three individuals , who were included in the moodle platform of the music distance learning course, participated in this study; two coordinators, one manager, one teacher author/supervisor, six distance learning tutors, and thirteen virtual students. The specific purposes of this study aim to contextualize the students’ choice for the music distance learning course; to investigate which musical-pedagogical mediations are created in this virtual environment; to analyze the discipline arrangement; to identify how these disciplines interact; to verify how the individuals manage time and space in this course; and to observe the music distance course viability. The theoretical foundation is based on the field of sociology of music education, sociology of communication, sociology of education and sociology of distance learning. From the branches of Sociology, the theoretical basis of this study is supported by authors who refined a look at everyday life with regard to the cyber culture context (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). This is a qualitative case study (POUPART et al., 2008; DESLAURIERS and KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN and BIKLEN, 1994). Data collection techniques used were non-participant and participant observations, as well as an online interview, which was an adaptation of a face-to-face interview (NICOLACI-DA-COSTA, 2007). The results showed that it is possible to learn music by taking online music courses. There is a growing demand for such alternative mode of learning as they provide greater flexibility in the organization of time and space. Data analysis and interpretation revealed that online music pedagogy should take into account its specific demands in each discipline, linked to the reality of each context inserted in the process of training, in addition to being adapted and transformed to meet these specific needs.

Este estudo teve como objetivo investigar a viabilidade da educação online como estratégia de formação continuada de professores de música em exercício na educação básica. O método de pesquisa utilizado foi a pesquisa-ação, que consistiu de um curso online sobre tecnologia na educação musical destinado a professores de música de escolas públicas situadas no Estado do Pará. Oito professores aceitaram participar da pesquisa. Foram utilizadas três técnicas de pesquisa: questionário auto-administrado, observação participante e entrevista semiestruturada. Os resultados da presente pesquisa indicam que as bases para criação de programas de formação continuada de professores de música em exercício na educação básica, por meio da educação online, estão na concepção metodológica que a orienta, na gestão eficiente do ambiente, na adequação do material didático disponibilizado ao conteúdo do curso e no apoio institucional. / This study aimed to investigate the viability of online education as a strategy for inservice music teacher education. The research method used was the actionresearch, which consisted of an online course on music technology for in-service music teachers of public schools situated in the State of Pará, Brazil. Eight teachers agreed to participate in this research. Three research techniques have been used: self-administered questionnaires, observation and semi-structured interviews. The results point out that the basis for the creation of in-service music teacher education programs, using online education, resides on the conception that orient the program, on efficient administration of the environment, on adequation of the teaching material available to the content of the course and on the institutional support.

The process by which the classical music business operates in the UK changed significantly through the marketing of a classical music recording which took place in 1989. EMI’s recording of Vivaldi’s work Four Seasons with the violinist Nigel Kennedy was given a unique marketing campaign for a classical music recording. Instead of the traditional marketing approach for a classical music release, pop marketing techniques were employed. In a different but related development, in 1990, the first of the Three Tenors concerts was held in Rome to mark the final match of the 1990 Fédération Internationale de Football Association’s (FIFA) world cup competition. The success of this second record campaign lay in the novelty of three tenors performing together at a football competition. The result was classical music achieving worldwide exposure through global radio and television broadcasts. Both case studies help further classical music as a form of popular culture. Earlier precedent demonstrates pieces of classical music being used for adverts or films and becoming popular. For example Ravel’s Bolero was used in a seduction scene in the film 10 between Bo Derek and Dudley Moore in 1984, and by ice-skaters Torvill and Dean in the same year for the final of the 1984 Winter Olympics. Another example is Orff’s Carmina Burana sections of which have been used for aftershave and lager adverts as well as being sung at football matches. Because the reach of the audience is larger than that in a traditional classical music setting, the pieces achieve a mass cultural perspective in this context. My thesis examines the impact that the success of the Four Seasons and Three Tenors releases had on the classical music business and the development in marketing and selling techniques that emanated from their success. Examples of marketing campaigns post the Four Seasons are included to show the extent of non-traditional classical marketing techniques used subsequently by the classical music industry, some of which I devised and implemented. My research also analyses how trading over the internet has had an impact on the music business as a whole, and how the classical music sector has followed the pop area of the music industry in creating different ways of selling to traditional and new consumers through online trading. This part of the thesis focuses on the period between 2000-2010, especially from 2006 when developments in this field progressed. My study will draw on a Case Study approach using multiple data collection methods. Also employed is descriptive analysis using a combination of qualitative and quantitative techniques, in particular through industry reports. The reasons for the sales success of both recordings are examined in my thesis. The Four Seasons achieved 2 million sales and an entry into the Guinness Book of Records as the best-selling classical music recording of all time at that point. The recording of the 1990 Three Tenors concert and the successive recordings of similar concerts in 1994 and 1998 led to these albums becoming the all-time best-selling classical recordings. For example, worldwide sales for the 1990 recording reached over 12 million CDs, cassettes and videos combined and 23 million for the 1990, 1994 and 1998 Three Tenors recordings. These projects not only gave increased exposure to the classical music genre by expanding its traditional consumer reach, they also created a force for change in business models affecting the marketing and visibility of classical music since 1989. A further significant factor in the success of these vocal recordings (as well as the chance for classical music to be heard outside its traditional boundary) was the use of the arresting aria Nessun dorma from Puccini’s opera Turandot. This was sung by Pavarotti and used by the BBC for all its programmes broadcasting the 1990 football matches in the competition. The effect of internet selling and downloading on the music business was encouraged by the creation of Apple’s iTunes program in 2001. The invention of the iPod in 2002 and the legal entity of Napster in 2004 led to much increased accessibility of music. For classical music with its long movements and being part of a slow-moving market (compared to pop music), this area of the business only witnessed an increase in activity through the expansion of Broadband nationally during 2006 and 2007, reaching 70% in 2009 (discussed on page 90, chapter 4). Since then, the growth of classical music e-tailers has forged a new way of operating in the classical music field. The thesis will give examples of the leading companies trading over the internet and their influence on the classical music market. Contributions from practitioners in the music business inform my thesis through their own witnessing of changes in the classical music business since the Four Seasons campaign. My own experience as a former Head of Press and Promotion for both Decca Classics and EMI Classics, and also currently as a marketing and business consultant for classical music organisations, offers a useful and relevant addition to my research. My contribution to knowledge is to identify the adaptation of pop music marketing tools by the classical music industry over a 20 year time frame. My close involvement in the EMI Four Seasons campaign places me in a unique position to identify and evaluate the significance of the publicity campaign of that recording not only at that time but in the years that followed.